casa ga - carpano/chiorino architetti

December 1, 2014, 2:31 am

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casa ga si inserisce sulle pendici del versante meridionale dell’isola di Fourni, nell’Egeo orientale. Il progetto tiene conto delle splendide viste che si godono dal sito e delle condizioni climatiche tipiche di quel pezzo di Mediterraneo, il sole, il vento, la forte escursione termica notte/giorno. La villa viene concepita quindi per candidi blocchi funzionali parallelepipedi a pianta quadrata che si addossano a un muro di contenimento del terreno, rivestito da conci di pietra ricavata dagli scavi di fondazione e posata a secco dalle maestranze locali. I blocchi si inseriscono a diverse quote, assecondando l’andamento naturale del terreno, e con diverse giaciture, per abbracciare il declivio e privilegiare ora un panorama ora l’altro. I volumi vengono trattati diversamente a seconda delle destinazioni che accolgono ~~zona living, zona notte, alloggio per gli ospiti~~ con portici scavati, pergole addossate, tetti terrazzi per godere del fresco serale e del panorama o tetti giardino per il raffrescamento naturale degli ambienti sottostanti. Intonaco bianco, pietra naturale locale e legno sono i materiali scelti per questa semplice e raffinata dimora, perfettamente inserita nel contesto paesaggistico di riferimento

Photo by gm. Published on December 01, 2014.

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uffici cielo 1914 - carpano/chiorino architetti

December 1, 2014, 2:43 am

≫ Next: CBS - CAMPUS IN SOCIETY - C.F. Møller Architects, Transform, Moe Og Brødsgaard

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ristrutturazione di uffici e showroom di gioielleria

Photo by Francesca Chiorino. Published on December 01, 2014.

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CBS - CAMPUS IN SOCIETY - C.F. Møller Architects, Transform, Moe Og Brødsgaard

December 1, 2014, 3:12 am

≫ Next: Gyula Trebitsch school - Gmp Architekten - Von Gerkan, Marg und Partner

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C.F. Møller Architects and C.F. Møller Landscape, working with Transform and Moe, have won the contest to design the new urban campus for Copenhagen Business School, CBS. The project aims to create the world’s best city-integrated campus.

CBS is Denmark’s principal business university. At a key location in the Frederiksberg district, above both the old and new metro lines, the university will continue in the future to attract a growing number of students in Denmark.

The master plan is intended to give CBS’ surroundings and the Frederiksberg district of Copenhagen yet another facelift. The project creates a new and attractive campus, comprising teaching facilities, green areas, and interesting and inspiring urban spaces.

The new master plan creates four different new urban spaces, ranging from the classical plaza around the metro stations to an informal, recreational park at the centre of the campus. Blue and green elements are included as parts of the climate adaptation strategy. These can potentially become recreational focal points and meeting places as well as elements that forge urban identity.

“One of the visions for the new CBS is that, in terms of size and influence, the university should become a symbol for how Denmark and the Western world wishes to develop in the future. The university campus must be intelligent, compact, creative, heterogeneous, individual and have strong cohesion with the city and urban society”, explains Julian Weyer, partner in C.F. Møller.

C.F. Møller’s master plan applies the DGNB (Green Building Council Denmark) criteria and therefore meets CBS’ expectations regarding sustainability. DGNB’s financial and environmental criteria are applied, for example, the project uses recreational rainwater processing methods. The project also accommodates the social criteria, explains Julian Weyer, who emphasises that the new CBS campus is for the use not only of students and university employees.

“We have defined clear meeting places at every location where there is an interface with surrounding areas of the city. We have also merged traffic-related and green elements. The master plan will therefore naturally become integrated into its context and attract a wide variety of user groups.”

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Gyula Trebitsch school - Gmp Architekten - Von Gerkan, Marg und Partner

December 1, 2014, 3:43 am

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The Gyula Trebitsch school at Hamburg will be extended and the architects von Gerkan, Marg and Partners (gmp) have been commissioned to build the extended replacement building to their designs. This was the result of the design commission negotiated under VOF (German procedure for commissioning freelance services) following the competition win. The new building for the school serving the urban district of Tonndorf, with a grammar school section, becomes part of the existing campus and its future address. It is designed to accommodate 17 class- rooms, nine specialist subject rooms, and a refectory. The start of construction work has been scheduled for the autumn of 2015, and completion for the spring of 2017.

In order to retain as much of the existing vegetation as possible, the new building will be laid out in a meandering fashion. On the one hand, this layout configuration is intended to frame the outside entrance and, on the other hand, it will provide an additional schoolyard towards the campus. The shape of the building clearly expresses the three main parts – the classroom tract, specialist subject rooms and the student common room/refectory – each with independent access. The bright red facing brickwork of the façade of the new building replicates the pattern language of the former building, the neighboring new buildings at Sonnenweg and the refurbished old buildings, which all contain shades of red brickwork elements.

The elevation of the meandering building will be structured by an interesting interplay of elegant all-round fene- stration bands and generous, recessed and framed openings on the ground floor. These openings lead the way to the entrances, but also grant vistas into the foyers, the workshop for drama and dance which can be extended to form an assembly hall, the music hall and the common room/refectory. The building is provided with rhythm by the all-round fenestration band. The child-friendly feel of a modern educational establishment is created by the varied color scheme and light effects. Gently designed exterior spaces have been proposed in deliberate contrast to the strict geometry of the new building. It is intended to use the various trees to break up the new schoolyard, with benches provided as seating around them. In addition, it is possible to set up play equipment and provide quiet spaces in the schoolyard – it should be possible to make flexible and varied use of the open spaces to the best possible extent. In addition, a new generous entrance area will provide enough space for an outside terrace for the refectory and hence space for school parties, performances and other open-air events.

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CASA MA - FRANCONI ARCHITECTS, Rodrigo Gonzales

December 1, 2014, 3:52 am

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La casa se encuentra emplazada en una parcela de esquina y sobre un suave talud natural del terreno. Esta situación la deja “a la vista” de la calle que la rodea, en una perspectiva superior (desde abajo). La casa sólo se ve desde cerca y no queda escondida por vallas: la casa queda expuesta. Este es su gran esplendor. La orientación de la fachada principal, la pública, elude el sol y su luz natural debido también a la existencia de unos grandes pinos que han crecido descontrolados y sin relación con la casa y su posición. El interior es por lo tanto oscuro y frío. Las distancias mínimas, el volumen actual y los requerimientos de los clientes, sólo permiten plantear una ampliación hacia el frente principal. A partir de la definición de un perímetro cuadrado que límite el nuevo volumen, se plantea un retranqueo de la fachada principal hacia el sol, la luz y el mar. Este gesto, contundente y simple, permite crear un nuevo espacio, el porche. Por medio de un cerramiento de celosías corredizas y regulables, elementos de control solar y de viento, el porche se convierte en un espacio filtro que vincula el interior y el exterior. El espacio interior preexistente no tiene una distribución clara. La dimensión horizontal prevale marcadamente sobre la vertical. Para ordenar la distribución se traza un pasillo recto que divide la casa en tres zonas interiores. Al acabarse del pasillo en el salón se abre una escalera que permite vincular las plantas existentes (planta baja y planta sótano) al terrado que se obtiene convirtiendo la cubierta plana en transitable. Este es el segundo esplendor que se le entrega a la casa: una dimensión horizontal ordenada y una vertical que antes no existía. El resto, cuidar la forma en sus relaciones totales.

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Tower Structure 3D CAD Model - IndiaCADworks

December 1, 2014, 4:47 am

≫ Next: 3/4 Glass House - Carlalberto Amadori

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IndiaCADworks technical team recently completed a project on 3D CAD Models for Tower structures. Our team expertise in 3ds Max for creating tower projects.

Wind Mill Design

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3/4 Glass House - Carlalberto Amadori

December 1, 2014, 5:12 am

≫ Next: Barceló Market, Library and Sports Hall - Nieto Sobejano Arquitectos

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28mq, una scala, una cucina, uno spazio living, un possibile spazio notte. 3/4 Glass House è una micro-architettura privata di carattere residenziale, ampliamento di un villino di campagna anni 90, fra i colli pesaresi. La realizzazione comunica con un garage sottostante tramite una scalaa telaio in ferro, mediatrice fra due ambienti totalmente differenti, ed un clima opposto.

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Barceló Market, Library and Sports Hall - Nieto Sobejano Arquitectos

December 1, 2014, 5:36 am

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Density and Hybridization
The Barceló Market area in Madrid includes public spaces, temporary buildings, and installations belonging to a same complex. Its multiple denomination – market/sports center/library – speaks of collective engagement and reveals the social condition of the program: a compact market topped by a sports pavilion framing the city, in front of which a cantilevered library rises above a schoolyard. In this way we assume the coexistence of three simultaneous conceptions (container, frame, bridge) that address structural variations (space frame, cantilever, beam) and generate different civic spaces: a covered street, an elongated plaza, and a raised terrace. In this combinatorial matrix — a balance of functional needs, structural systems, and urban spa ces — resides the dense and hybrid condition that characterizes the project.

On the boundary between the historic center of Madrid and its later expansion, surrounded by historical buildings and contemporary structures, narrow streets, plazas and extensions, the market -whose interior fittings were not designed by the architects – expresses itself as an autonomous volume, located at the confluence of the Mejía Lequerica and Beneficencia streets. Separated by a narrow interior gallery-street of marked vertical proportion, the sports pavilion juts out over the market, whose roof is actually a large raised public terrace from which one sees the Madrid roofscape. The library, located on the opposite side of the longitudinal plaza, hovers over the schoolyard, to which it is attached to create a complex that is formally related to the other buildings. The geometric definition and material expression of its enclosures show that – despite their varied uses – the new buildings belong to a shared time and place. A skin formed by large pieces of cast glass – white and opaline – unifies its exterior appearance, thus lending lightness and unity to the complex.

Enrique Sobejano, Fuensanta Nieto

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Recupero dell'ex Sede Enel a Forlì - Davide Canali

December 1, 2014, 5:52 am

≫ Next: Arcosanti - Paolo Soleri

≪ Previous: Barceló Market, Library and Sports Hall - Nieto Sobejano Arquitectos

La dismissione dell’edificio dell’Enel a Forlì e la sua sua successiva alienazione fece sorgere immediatamente alla nuova proprietà due problemi: Primo, demolire e ricostruire l’edificio esistente oppure conservarlo e riutilizzarlo? Secondo, quali funzioni metterci? Costruito negli anni’60 del novecento, e realizzato con una struttura intelaiata di cemento armato, si eleva per cinque piani fuori terra più un attico arretrato rispetto al filo delle facciate sopra un piano interrato. Un manufatto dallo stile “brutalista” che si erge muto e vuoto in un contesto di straordinaria bellezza che attende di poter tornare a nuova vita. Incaricato lo Studio di effettuare un progetto di fattibilità la scelta cadde sull’ipotesi di una ristrutturazione dell’immobile per concorrere alla riqualificazione del quartiere circostante Piazza Guido da Montefeltro. La proposta è quella di trasformare l’ex sede dell’Enel in un Hotel a 4 stelle, con annessa SPA, per accogliere i turisti provenienti da fuori provincia attirati dalle mostre e dagli eventi culturali del vicino plesso museale del San Domenico. Il progetto instaura un “dialogo” con il complesso monumentale che sorge di fronte ad esso. Il gioco di luci ed ombre generato dal brise-soleil sulla facciata, simula quello generato dall’aggetto dei mattoni sul prospetto della grande chiesa. Analogamente il ritmo verticale ma sfalsato delle finestre dell’Hotel, imitano lo sfalsamento e la sovrapposizione delle aperture dell’edificio antistante. Il colore rosso vivo dell’intonaco, esaltato dal bianco delle parti in aggetto e dall vernice bianca dei telai degli infissi, è un omaggio alla tradizionale bicromia laterizio/pietra d’istria tipica degli edifici storici della città. A completamento del programma si propone di pavimentare e rendere pedonale il tratto di piazza antistante l’edificio fino al vicino Oratorio di San Sebastiano.

Foto aerea dell'area di intervento.

Veduta attuale dal San Domenico

Veduta attuale dal parcheggio Sacripanti

Veduta attuale dalla strada.

Veduta attuale del portico

Planimetria di progetto

Rendering dal San Domenico

Rendering dal parcheggio Sacripanti

Rendering dalla strada

Rendering del portico

Piano interrato e piano terra

Piano tipo e piano quarto

Attico e copertura

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Arcosanti - Paolo Soleri

December 1, 2014, 7:50 am

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“As urban architecture, Arcosanti is probably the most important experiment undertaken in our life time.” Douglas Davis, Newsweek,1976

ARCOSANTI. Southern exposure. The Arcosanti site is located about 60 miles north of Phoenix, taking Interstate-17 to Exit 263 at Cordes Junction. Since 1970 thousands of students and professionals have come to Arcosanti to participate in seminars, conferences and workshops conducted by Paolo Soleri and his staff. For further information concerning tours, seminars, workshops, overnight accommodations and music events, call (928) 632-7135 or write: ARCOSANTI, HC74, Box 4136, Mayer, AZ 86333

The Arcosanti Project is developed by the Cosanti Foundation, a non-profit educational organization dedicated to the investigation of new urban patterns. The project addresses the environmental, social and cultural issues faced by an increasingly urbanizing and global civilization. Arcosanti hopes to develop and demonstrate a sustainable urban system on marginal land in the American southwest.

ARCOSANTI. View from the east.

As an urban laboratory, Arcosanti focuses on innovative design, community, and environmental accountability. The goal is to actively pursue lean alternatives to urban sprawl based on Paolo Soleri’s theory of compact city design, Arcology (architecture + ecology).

ARCOSANTI. View from the south-west. Arcosanti is an urban laboratory focused on innovative design, community, and environmental accountability. Our goal is to actively pursue lean alternatives to urban sprawl based on Paolo Soleri's theory of compact city design, Arcology (architecture + ecology). Visiting Hours are 9am - 5pm : 7 days a week (Arcosanti is closed on major holidays). Tours are available every day each hour from 10am to 4pm (excluding noon) $10 Donations per person suggested for tours. For group tours, please contact Guest Services: 928.533.8295

Built by over 7,000 volunteers since the commencement of the project in 1970, Arcosanti provides various mixed-use buildings and public spaces where people live, work, visit, and participate in educational and cultural programs.

The CRAFTS III multi-use building is primarily a Visitor's Center. The building provides staff housing on the first level, a public Cafe on the second level, a public meeting room on the third floor mezzanine, and a Gallery on the fourth level. This multi-function facility demonstrates one of the characteristics of Soleri's arcology concept, which integrates living, recreational and working conditions within a single structure. The Cafe is warmed in the winter through warm air collected under the skylight blown down through a fabric tube into the atrium.

The Foundry Apse with West Housing and the Vaults viewed from south.

ARCOSANTI BRONZE FOUNDRY STUDIO. Paolo Soleri bronze bells are designed by Soleri and embellished by skilled artisans in sympathy with compositional standards. Revenues from their sale help to support the construction efforts at Arcosanti.

FOUNDRY APARTMENT. Interior view of a two bedroom apartment on the west side of the foundry apse.

Bronze Pour at the ARCOSANTI FOUNDRY. Paolo Soleri bronze bells were designed by Soleri and are embellished by skilled artisans in sympathy with compositional standards. Revenues from their sale help to support the construction efforts at Arcosanti. Call ahead of time to find out if your tour is timed to include a bronze pour.

CERAMICS APSE. The outside shell of the ceramics apse was shaped over a form carved of fine silt. The apse faces south, allowing for shading in the summer from the sun straight overhead. In the winter month the sun is at a low angle, warming the interior of the apse.

ARCOSANTI VAULTS viewed from south with the Lab Building in the background. The VAULTS are the mid-point of the Arcosanti site and design. This large public area provides space for events and meetings.

The Cosanti Foundation presentet its annual ITALIAN NIGHT concert and dinner at Arcosanti on Saturday, June 21. 2014. This Arcosanti tradition celebrates the heritage of its founder, Paolo Soleri, who was born in Torino, Italy on June 21. in 1919 and died in April of last year. The event features Italian cuisine served outdoors under the Arcosanti Vaults in the setting of Italian cypress and olive trees. Pasta is served from special wheelbarrows, honoring the history of construction at Arcosanti. This years Italian Night featured a performance by renowned soprano Jayne Casselman with Dr. Linda Haefler on piano and their ensemble.

DIFFERENT SKIES is an annual festival of electronic musicians, in the COLLY SOLERI AMPHITHEATER at Arcosanti.

The East Crescent Complex surrounds the Colly Soleri Amphitheater. The crescent consists of ten living and working units, currently under construction, surrounding the Amphitheater. When completed, the East Crescent will provide housing for approximately 60 Residents. Its multi-level units will be used also for studios, offices, overnight guest rooms, a gallery, and possibly a movie theater. All 10 entrances face a central courtyard/market and amphitheater, while the back side is lined with patios and courtyards. The complex will be heated by warm air collecting within and rising from a greenhouse section, still in the planning stage. The air will be channeled to the crescent units through a large concrete duct running along the outer edge of the building. This heat duct tunnel has been constructed along and under the back of the East Crescent and is also used as a utility tunnel. Once connected with the anticipated sloped greenhouse the mass of the structure will function as a heat sink.

EAST CRESCENT Complex, north side.

COLLY SOLERI AMPHITHEATER surrounded by the East Crescent. A performance in 2010 during the annual Italian Night.

DIFFERENT SKIES is an annual festival of electronic musicians, in the COLLY SOLERI AMPHITHEATER at Arcosanti.

EAST CRESCENT Complex with the Colly Soleri Music Center, view from the south. To the left is the S.O.D. Paolo Soleri Office Building.

SKY SUITE at Arcosanti is a two bedroom apartment rented by reservation to overnight guests. The extensive use of glass in the living area takes advantage of the fabulous view this third floor apartment provides. It is located on the third floor of the EAST CRESCENT, overlooking the Sky Theater of the Colly Soleri Music Center, a great place for star gazing. The Sky Suite opens onto a roof terrace where beds and pots of flowers, fruits and vegetables grow. From the terrace you have a great view of the landscape to the south and access to the top of the South Vault for a full 360 degree view. There's a small kitchen and eating area in the Sky Suite for guests who like to prepare their own meals. One bedroom has a double bed, another a single, and sleeping pads are available for additional guests. There are a number of other guestrooms available, see our website at .

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Kärdla Social Center - Dagopen, LÜNK architects

December 1, 2014, 8:21 am

≫ Next: ENDLESS THEATRE - mdu Architetti, Cosimo Balestri, Emanuele Barili, Marco Di Domenico, Lorenzo Perri

≪ Previous: Arcosanti - Paolo Soleri

Kärdla Social Center (Park 3) architecture competition. Includes retirement home, daycare, social care, children’s center and social housing.

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ENDLESS THEATRE - mdu Architetti, Cosimo Balestri, Emanuele Barili, Marco Di Domenico, Lorenzo Perri

December 1, 2014, 8:29 am

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Novosibirsk’s squares, avenues and urban blocks are characterized by a dilated scale, as the steppes that surround the city, shaping the huge Siberian lowland. The “Endless Theatre” project generates a place of high urban density, where energies tend to congeal and the essentially horizontal and rarefied dimension of the city gains new thickness and consistency. Culture, music and performances find here a stage of permanent display – endless and dynamic – ready to catalyze and radiate the instances of contemporaneity. The theatre is formed by a coil, made of red steel, soaring in the air as a light ribbon, instantaneously frozen in the spiral shape of a frenetic hovering. A form that encloses the logic of motion, thus containing every other possible shape; an interrupted dynamism, leaning toward what is about to be. Therefore, the experience of walking through the ribbon triggers multiple and changing relations, linked to the perception of the space and the contemplation of a possible performance.

Within variable and always different conditions, the performance, the public – and even the city – play and participate to the same show as in the theoretical models of theaters imagined by the avant-gardes during the first decades of the XX century. The whole society joins and contributes to the game of conceiving, through art and performance, possible and better future scenarios. The section of the ribbon, formed by a pedestrian path and an adjacent staircase generates a complex and multi-purpose system: a unique object – route, bleaches, tribune and observatory – frames a square, an open filtered proscenium. It is a loop where the walking viewers feed a stream of energy that surrounds and envelops the stage, through an ideally perpetual motion . The masses of people seem to be suspended upon the city, hanging over the performance while at the same time taking part of it.

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Impronta ADV - Stefano Panero Oddi

December 1, 2014, 8:30 am

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Interiors

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m 3 - Valentin Cordebar, Camille Salomon

December 1, 2014, 8:31 am

≫ Next: CASA SP - FRANCONI ARCHITECTS, Rodrigo Gonzales

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Berlin have a hidden treasure of architectural curiosities that History has spread out into a huge urban park. With their rehabilitation and reconversion, we can go further than the representation of the existing. We take advantage of the free spirit of Berlin to find a new Imaginary, like a kind of Dadaïsme movement. We transform uses and shift the vision of the heritage.

We take as an example an unused building : the tribune of the old autodrome AVUS that means “traffic and road training”. Built in 1909, it welcomes Formula one GP in 1959. Since the end of the 90’s, only a few number of automobile races have taken place. The design of the track disappears behind the Highway A115, and nowadays it is completely digested by the city, indeed disused. Our project aims to keep the building open to public, as it was already, through a new function : a swimming pool. Located at the West of Berlin, it is accessible by cycles ways, due to the existing roads, and also by the S-Bahn with two big stations. This new equipment is included in a part of the city developpment, with for exemple The City Cube, a new Exposition Center at this time under construction. Our proposal consists in water filling the tribune that creates a new plane at the top row of seatings, after removing the existing wooden roof and its metallic structure. It’s a way to preserve the architectural qualities of this building. On one hand, we save the concrete construction, and in the other hand, all the removed materials can be recycled. For example, the steel is transformed into metallic stairs for new vertical access.

The swimming-pool m3 presents different sizes of pool : three for the 25m length, one for the 50m length, one for the jump, two smaller for childrens, and a special 240m swimming line that correspond to the tribune length. Halfway was located the old control tower. After removing the cabin, this place without tiers is adapted to a plunge area thanks to enough depth. The new high platform also creates a signal on this infinite water line. The old hall behind the tribune is still used as a opened public area, without any gate. The changing rooms take place under the tiers, and are designed like individual cabin, where people can lock their bicycle and arrange their affair. Water basins announce each entrance of the pool, with also showers before swimming, then climbing the stairs and arriving from below at the water surface. On this roof-top, people can swim above the cars flow, and admirate the skyline of Berlin at the same time.

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CASA SP - FRANCONI ARCHITECTS, Rodrigo Gonzales

December 1, 2014, 8:39 am

≫ Next: Cosanti - Paolo Soleri

≪ Previous: m 3 - Valentin Cordebar, Camille Salomon

El proyecto se estructura según un criterio de máximo aprovechamiento del volumen permitido por las condiciones urbanísticas y las energía naturales. De la edificabilidad resultante de la aplicación de normativa, se obtiene un volumen de tres plantas con una cubierta a dos pendientes y una planta baja que llega hasta el fondo de la parcela, dejando espacio a dos patios. Respecto a las energías, se ha creado al centro del volumen un patio de luz orientado a sur para obtener una nueva fuente de luz directa, ya que solo existen dos fachadas abiertas (al patio y a la calle). De esta manera se ganan tres fachadas más. A partir de esto, cada vivienda tiene un núcleo de comunicación vertical y una distribución de planta muy centrada para distribuir perimetralmente los recintos que necesitan luz y ventilación naturales. Esta propuesta también permite definir unas circulaciones mínimas a favor de los recintos. La distribución de las viviendas está intercalada en la planta primera, que se divide en dos partes: una, que da al patio interior, es la zona de noche de la vivienda 1, la otra es la zona de día de la vivienda 2. La planta segunda está ocupada enteramente por la zona de noche de la vivienda 2. En la planta cubierta se han aprovechado las superficies posibles para obtener terrazas.

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Cosanti - Paolo Soleri

December 1, 2014, 8:45 am

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COSANTI is the residence and sculpture studio of Paolo Soleri and his staff. An Arizona Historic Site, Cosanti presents a unique bio-climatic architectural environment. Its structures feature many imaginative design elements, reflecting Soleri’s innovative construction techniques.

COSANTI - aerial view.

The conceptual framework for Soleri’s architecture at Cosanti is integration of manmade and natural environments. Soleri began his work on the experimental buildings here in the mid-1950’s and continued for 20 years with the help of workshop participants and apprentices who came to learn his methods. Many of the workshops were in collaboration with the College of Architecture at ASU. Most of the structures were built using the earth-casting method or one of Soleri’s variations on the technique.

COSANTI Plan. When Soleri and his students started building Cosanti in the late 1950's, the site was surrounded by desert, an oasis in the wilderness. Soleri's groundbreaking experiments in earth-casting architecture have drawn students of architecture and visitors from all over the world. By carving forms into very fine sand (earth/silt) and then pouring concrete into those forms, Soleri achieved structures that echo the handcrafted sculptural pieces he had made with clay.

COSANTI - PAOLO SOLERI STUDIOS - NORTH APSE - completed in 1964. "Apse" is a structure seen in Roman architecture that consists of a quarter sphere. In his architectural designs, Paolo Soleri uses the apse as a "passive solar machine". This particular apse faces north, provides a shelter for the display of Soleri's acclaimed wind-bells.

COSANTI Pumpkin Apse & Barrel Vaults- 1968-1971. The mound of earth upon which this structure was formed was piled up with a bulldozer. Sculptural ribs, facets, the skylight and other details were carved by hand. The raw earth mound was painted with several different colors of concrete pigment as part of the design of the interior of the apse. The interior ceilings of the barrel vaults were formed with plaster-dipped cloth held in place by scaffolding while concrete was cast on top. Today these buildings serve as office spaces.

COSANTI - PAOLO SOLERI STUDIOS - CERAMICS STUDIO - completed in 1958. The Ceramics Studio is a large, earth-cast concrete shell that contains a circular skylight. The studio faces south to catch the drying rays of the low winter sun.

COSANTI - Pool - constructed in 1965. The 22 ton concrete pool canopy was precast directly on the carved desert surface, then lifted by two cranes into its final position. Although the canopy appears massive, it is elegantly designed being only 3 inches thick. In the background we can see the Student Apse - constructed in 1968.

COSANTI - PAOLO SOLERI STUDIOS - GALLERY - completed 1961. This structure was formed by casting concrete over a sculpted mound of earth. Light fixtures and structural supports were also dug into the earth mold. The earth was excavated out from under the dried concrete, thus creating the interior space. Using a revolving form and very fluid concrete, workshop students created sculptured columns for the Cosanti Gallery. The building is situated below ground level; the surrounding earth acts as natural insulation to help moderate interior temperatures. A skylight allows extra warmth and light to enter in cooler weather.

COSANTI - Cat Cast - 1965. The Cat Cast, named for a small Caterpillar tractor that was used to rough cut and shape the earth pile on which the concrete roof was cast, houses several private sleeping rooms, a bathroom and shower, a below ground level library, living room. kitchen and dining area.

SOLERI BELLS. Every piece of the Cosanti Collection is designed by Paolo Soleri and embellished by skilled artisans in sympathy with his compositional standards. Revenues from their sale help to support the construction efforts at Arcosanti.

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RECUPERARE RICICLANDO - VINCENZO TUNDO

December 1, 2014, 10:56 am

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Il riuso quasi spontaneo dei materiali di “risulta” ha dato vita ad un nuovo modo di abitare una vecchia casa

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BULK, Icosaedro - Leonardo Biagi, Angelo Basso, Marco Giachetti

December 1, 2014, 12:23 pm

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Frutto della simbiosi e della collaborazione tra l’artista Patrizio Travagli e il gruppo di architetti WOKdesign (Angelo Basso, Leonardo Biagi e Marco Giachetti), BULK Project consiste in una serie di sculture luminose che riflettono sulla materia, attraverso l’utilizzo di solidi regolari o platonici, presenti nel De Divina Proportione di Luca Pacioli. Oltre che sulla matematica, l’artista si interroga sulla percezione visiva. Parte da tre dimensioni per visualizzare, attraverso la luce, quelle nascoste. Tutti i solidi (tetraedro, esaedro, ottaedro, dodecaedro, icosaedro) rendono evidente, in una serie di riflessioni, un infinito numero di dimensioni. Lo spettatore percepisce così l’impercettibile dentro ad un mondo ordinato e razionale: l’infinito o il multi-dimensionale. Queste opere ad una prima osservazione richiamano alla mente le figure dei solidi platonici, aprendo in una seconda analisi la possibilità di intraprendere un percorso percettivo che proietta il visitatore in un’altra dimensione, in una sorta di viaggio stellare. Dopo essere stata esposta alla Vienna Art Week 2009, alla Biennale del Cairo 2010 e alla 54º Biennale d’Arte di Venezia nel 2011, la serie BULK troverà, con il patrocinio del Comune, la sua nuova collocazione a San Casciano in Val di Pesa. L’icosaedro sarà installato a tempo indeterminato nella Torre del Chianti, un’opera architettonica che contribuisce all’identità della città come nuovo riferimento urbano, affiancandosi a manufatti che per secoli hanno orientato cittadino e visitatore. Il luogo è stato eletto per la sua particolarità, nel tentativo di renderlo ancor di più un luogo di interesse e ampliando l’offerta culturale che nella zona è già molto radicata. La varietà dei linguaggi espressivi sono il punto di maggior forza del territorio, che caratterizzano l’identità della realtà nella quale si inserisce BULK Project. Per il progetto, che non si fermerà a San Casciano, è prevista la realizzazione di un esemplare unico per ciascun solido, in grandi dimensioni, da collocare in luoghi di interesse territoriale nazionale ed internazionale e di una mostra itinerante dei cinque solidi in scala ridotta presentata in musei e luoghi d’interesse artistico.

BULK, Icosaedro - Torre del Chianti

Bulk, Icosaedro

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Trappola per nuvole - Clouds trap - Paolo Uboldi

December 1, 2014, 7:31 pm

≫ Next: Guggenheim Helsinki Design Competition - Gaspare Oliva, Paolo De Michele, Eduardo Bassolino, Francesco Aletta, Nicola Pietrantonio, Dionigia Barbareschi, Res_Architecturae, DelphiLab+

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L’installazione indaga il rapporto contraddittorio dell’uomo con la natura; da un lato ne apprezza l’immensa ed infinita bellezza arrivando perfino ad idolatrarla, dall’altra ha sempre avuto la necessità di misurarla, catturarla o modificarla per soddisfare le proprie esigenze. Spesso purtroppo le necessità utilitaristiche dell’uomo hanno minato l’integrità della natura, senza averne davvero conscienza delle conseguenze. Da queste considerazioni nasce la trappola per nuvole.

Le nuvole ed il cielo rappresentano nell’immaginario collettivo l’elemento naturale incommensurabile, continuamente variabile che diventa metafora dell’infinito; inafferrabile, incalcolabile e incomprensibile diventa spesso il più’ alto esempio della magia e della poesia insita nella natura. Il cielo è l’elemento naturale che l’uomo ha sempre provato a conquistare e misurare senza mai riuscirci totalmente; è elemento che attraverso le sue manifestazioni ci ricorda che anche noi stessi facciamo parte del mondo naturale.

L’installazione attraverso la rappresentazione ironica di una utopica trappola per nuvole vorrebbe diventare la rappresentazione di questa dicotomia; una macchina che può’ solo far sognare senza esser realmente utile. Il visitatore per un momento penserà che possa esistere una macchina per catturare le nuvole, pensando che, per l’ennesima volta, è superiore agli altri elementi naturali; ma comprendendone l’impossibilità rimarrà esclusivamente l’impressione che gli elementi naturali possono solo esser ammirarti e contemplati nella loro integrità. Il sogno rimarrà un sogno

Si è scelto di utilizzare un tradizionale nassa in giunco per richiamare l’antico rapporto tra la vicina costa e l’uomo, rappresentando in questo modo il rapporto utilitaristico di sfruttamento della natura, mentre la scala in legno diventa la rappresentazione della impossibile ascesa dell’uomo verso i cieli.

The installation explores the contradictory relationship between human being and nature; If humans always have been appreciating the immense and infinite beauty of nature, even reaching out to idolizing it , on the other hand mens ever had the need to measure it, capture it, or modify it to suit their needs. Often, unfortunately, the utilitarian needs of mankind have undermined the integrity of nature, without being aware of the consequences. ‘Clouds Trap’ emanates from these considerations. Clouds and sky represent, in the collective imaginary, an immeasurable, natural element, constantly variable, that becomes a metaphor for infinity; intangible, immeasurable and incomprehensible, infinity often becomes the most important example of magic and poetry inherent in nature. The sky is the natural element that mankind always tried to conquer and measure without ever succeed completely; it is an element, that through its manifestations, reminds us that we ourselves belong to the natural world. Through an ironic representation of an utopian clouds trap, the installation would like to become the image of this dichotomy; a machine that only can make us dream without being really useful. The visitor will thinking for a moment that there might be a machine to capture the cloud, once again imagining, he’s superior to natural elements; but comprehending its impossibility, the only real impression remaining will be that natural elements only can be only admired and contemplated. We keep on dreaming. We have chosen to use a traditional fish trap to retrieve the ancient relationship between men and the sea, thus representing the utilitarian relationship of exploitation of nature, while the wooden staircase becomes a staircase to heaven.

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Guggenheim Helsinki Design Competition - Gaspare Oliva, Paolo De Michele, Eduardo Bassolino, Francesco Aletta, Nicola Pietrantonio, Dionigia Barbareschi, Res_Architecturae, DelphiLab+

December 2, 2014, 8:20 am

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New museum wants to be a polyvalent cultural container opened to the city. It builds new public spaces and it doesn’t waive to define an adequate location for needs of contemporary artistic culture.

Uses connected with exhibition activities are placed in an underground giant level while accessory uses are concentrated in a big slab defining a landmark for the entire archipelago. The burial of exhibition spaces’ volume allows the utilization of the huge covering as a public square and as a space for artistic installations at same time.

Square hall (56m X 56m) with glazed roof represents the core of the exhibition. The absence of intermediate structural supports (pillars are placed along the perimeter) allows maximum flexibility in the organization of spaces, in line with the changing needs of the artistic offering, that is constituted primarily by temporary exhibitions.

The horizontal grid formed by high steel beams constitutes the main hall’s covering and allows the realization of temporary suspended partitions and the collocation of lighting and shading systems (curtains) to be organizing as needed. Big horizontal glazed plane constitutes a transparent interface between museum and city, that allows participation in new public space’s life to world of art. The project provides an additional exhibition gallery for paintings and small artworks.

Slab is characterized by transversal arrangement in confront of coastline and in particular by the square profile representing the ideal vertical overturning of main exhibition hall. The warped geometry and the flaunted closure of North-Western facade accentuate the building’s monumental attitude that, as backdrop of new esplanade, looks like an assertive monolith.

Opposite front reveals, through a double glass wall, the richness of internal space: café, restaurant, multipurpose room, offices and in particular the atrium with its 25 meters of height. It represents a junction between slab and underground museum, a switch of different flows and it stands as an available space for temporary artworks.

The corridor-loggia is an internal element of the building and an urban element at same time. On the one hand it builds an intermediate point of view on the great hall, on the other it is a connecting finger with the nearby public park.

The lobby represents the foyer of the conference hall and a place for visitors’ rest. It is located in underground volume and people can reach it through a ramps systems from the access atrium.

Its distinctive transparent ceiling is covered by a water film contributing to construction of a suggestive indoor environment and it contemporaneously stands as elective floor for open-air big artworks.

Slab’s main structure is formed by reinforced concrete portals while secondary structural order is formed by steel beams and dry floorings. Internal vertical partitions are realized with prefinished wood panels that creates a typical finishing for rooms.

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